=93If you assert that painting is dumb poetry, then the painter may =call poetry blind painting=85

Music is not to be regarded as other than the sister of painting=85

The poet remains far behind the painter with respect to the =representation of corporeal things, and with respect to invisible =things, he remains behind the musician.=94

(Leonardo, On Painting)

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During the early modern period in England and on the continent, the =relationship between the arts was both volatile and collaborative, at =once a rivalry and a shared enterprise. Similarities were at the level =of both content and method: painters visualized scenes from narratives =and drama, while poets theorized about the ramifications of ut pictura =poesis. Yet as the quotation from Leonardo shows, the arts were often =thought to have a paragonal relationship, and so such interart =discussions often used one art form to point out the limitations for =representation in the other arts. As Clark Hulse has argued, it was =between 1400-1600 that the arts of painting and poetry emerged =93for =the first time as fields of knowledge,=94 and =93acquire[d] a common =lore that constitute[d] the vocabulary for talking about the =relationship between the two of them=94 (The Rule of Art 16). However, =this relationship and rivalry went beyond painting and poetry; =sculpture, music, architecture, landscape gardens, and maps need to be =considered, as do developments in science and psychology, such as the =perspective theory experimented by thinkers like Alberti.

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This panel=92s aim is to explore what it means for the arts to be ==93permeable=94 during the early modern period. It also encourages =papers to explore the larger social, political, cultural, historical, =and national implications of such a discussion.=20

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Papers may address, but are certainly not limited to:

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-readings of ekphrasis in poetry or of the depiction of narratives =(classical or otherwise) in paintings

-consideration of the ut pictura poesis tradition and pictorialism in =early modern literature

-the history of interart criticism: Panofsky to Gombrich to Mitchell

-social circles of poets, painters, and other artists

-the relationship between text and image in the staging of Renaissance =drama

-texts as iconophilic, iconophobic, or iconoclastic

-the influence of the Protestant Reformation and the =Counter-Reformation on the relationship between the arts

-the relationship of poetry and painting to other arts: music, =architecture, sculpture

-reading other kinds of images: maps, building plans, religious icons

-the influence of recent politically and culturally specific critical =approaches for understanding early modern interart relationships on =reconstructing early modern artistic theory and practice.